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The Waltz That’s Viennes-y

As Joseph Campbell taught us, there aren’t a lot of stories. There’s myth and then there’s variation on it. And while we may not be telling hero stories within the romance genre, there are only a few basic plots.

  • There’s the innocent and the rake. (Related: various redemption fantasies and Beauty and the Beast-type stuff.)
  • There’s love across some sort of big old status divide, such as class, race, family expectation, vampire/human, etc. (Related: forbidden love and Romeo and Juliet-type stuff.)
  • There’s the dispossessed hero(ine). (Related: the hero(ine) wants to get the hell out Dodge, the hero(ine) wants to change her fate, and Cinderella-type stuff.)
  • There’s the protector/protectee. (Related: most romantic suspense and serial killer-type stuff.)
  • There’s the arranged marriage/marriage of convenience.

And obviously all of these plots can be reversed, used in concert, or be adapted for MM or FF romance. But my point is: there really aren’t that many stories. What matters isn’t originality. That’s very difficult to achieve and perhaps over-rated. No, what varies are the telling and the characters.

Continue reading “The Waltz That’s Viennes-y”

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Word Count Check-In

7968 words for the novella. About 30% of the way there, at least if my outline turns out to be accurate.

I hate when you end up with a middle chapter that you don’t want to write but need for the story. For me, it always ends up being a chapter in my notes that contains the phrase “they fight.” I’m not good at writing conflict.

I’d like to have 15,000 words by the end of next weekend, plus 15 dissertation pages. That’s a lot of writing.

Put a Pin in It

When you’re writing and you come to something you don’t know — an historical fact, a plot twist that you haven’t worked out, a character you haven’t named — how do you deal with it?

Sometimes, I manage to skip * the unknown thing * and move on. If the flow of my writing is going well, I know that don’t want to break it. Rarely is *  the unknown thing * so important that it must be solved that very minute. I even keep a separate word processing document open when I write for my to do list. But other times, I convince myself, “This will just take a minute.” And inevitably, I emerge from Pope’s translation of The Iliad 40 minutes later with the perfect quote about grief and the waste of war. And also inevitably, my writing time for the morning is now coming to an end.

It is, in other words, amazing to me how many of my bad writing habits could be solved by simply doing the things that I know I should do.

Daily Newspapers

The past two days, I’ve written about 4,000 words for my historical novella. The heroine is very loosely based on Catharine Beecher and the hero on Theodore Weld. (Which is sort of hysterical given the fact that Weld’s wife, Angelina Grimke, had a very public conflict with Beecher about abolition politics in 1836, but I digress.)

I love that stage in writing when you have a very loose plan but then you start putting words on the page and other things just work themselves out. In this case, a backstory point that I thought was settled is playing out very differently than I had intended. But the shift creates more conflict between the characters. Since the project will be shorter than 40,000 words, there’s no room for filler. Every scene has to count. I feel like I need to turn the stakes meter up to 11, so to speak.

One resource that I’ve become addicted to is the Brooklyn Daily Eagle. The paper was published between 1841 and 1955 and currently, you can access the period from 1841 and 1902 full-text, online, for free. Have I mentioned that it’s also fully searchable? If you want to know much women were paying for hoop skirts, what a recruit ad for the Civil War looked like, or how people discussed society functions, there’s no substitute for reading a daily newspaper.

Happy writing!

Dual Lives

Like most people who write fiction, I do so for fun.

I am fortunate enough to spend part of my life as a professional writer (e.g., working on my dissertation) and part as a mama to very active toddlers. Much of the rest of my time is consumed by mundane human activities (i.e., showering, cooking, jogging, sleeping, etc.) or nurturing my marriage and friendships.

The difficulties in balancing recreational writing against professional and personal commitments are well-trod territories. I’ll probably explore them more at some point, but in this post, I have something else in mind.

For the moment, I’m interested in the balance between our lives as readers and our lives as writers. In the few hours a day that I’m able to snag for myself, either early in the morning before the kids are awake or in the evening after they’re asleep, how do you decide when to read and when to write?

Continue reading “Dual Lives”

The Sticky Scene

I recently started drafting what I think is going to be a novella that launches a series set in the nineteenth century. There’s a scene that I can’t get out my head, however. A scene that I think fits into a contemporary set between two political operatives in Washington, DC. A scene that, in other words, has nothing to do with the project that I’m ostensibly writing.

I know that what I need to do is get the sticky scene down on paper and then go back to the historical work in progress. But I’m a little curious about how other people approach their work.

Do you have one and only one work in progress at a time? Do you have multiple projects that you flip between depending on your mood and motivation? Am I just too darn dilettantish?

The Vagaries of Historical Research

I recently started working on a new project. It’s a set of three novels and a novella about four female friends who live and love in mid-nineteenth century America. My first recently completed manuscript is a contemporary and is set at a university, a world that I know intimately. This new concept is historical, however, which means that I have to do research.

Research doesn’t frighten me. I’m a Ph.D. student who’s writing a dissertation on 19th century print culture. I’m a database ninja. I’ve read in a number of archives, including the Special Collections at the Library of Congress, the Schlesinger Library at Harvard, and, next month, the New York Public Library. Hell, I’ve even made my peace with microfilm.

But as I began working on a outline for this project, I realized that the kind of historical research that I know how to do is not necessarily the kind that I need as a fiction writer.

For example, I needed to find a town in New England — I was thinking Connecticut — that had textile mills in 1860 but which was still fairly well-to-do and which contributed a significant number of troops to the Civil War. Whew.

Then, I needed to figure out which regiment an officer from that town who enlisted fairly early in the war might have ended up in. And it had to be a regiment that saw major action in approximately 1862 for a plot twist that I had in mind. Double whew.

Plus I wanted lots of pictures of said town, regiment, etc. for inspiration.

The coolest resource that I’ve found so far is the National Park Service Database of Civil War People. I was able to search all of the men from Connecticut who served in the Union and then, using the list, I worked backward until I found a regiment that met my criteria.

What are your favorite online databases for historical research?  Do you develop plot/characters and then try to find history to match it? Or do you research first and then develop plot/characters?